TWENTY  LESSONS 


FOR: M 

'i’j 

Music  Pupils  I 


HAMILTON  C.  MACDOUGALL, 


PUBLISHED  BY 

Hatch  Music  Company 

PHILADELPHIA. 


COPYRIGHT,  MDCCCXCVII,  BY  HATCH  MUSIC  COMPANY . 


PRIMER 

OF 

EYE  TRAINING 

Fifty  Oral  and  Written  Exercises  for 
Young  Music  Students 


By  M.  S.  MORRIS 


As  its  name  implies,  is  intended  to  teach  beginners  and 
slow  readers  of  any  grade  to  read  the  notes  accurately  and  in 
very  much  less  time  than  by  the  old  method. 

By  this  method  the  eye  is  trained  to  grasp  a passage  in  its 
entirety  and  the  matter  of  reading  at  sight  and  memorizing  is 
very  largely  simplified,  and  of  still  more  importance,  the 
student's  mental  grasp  of  the  musical  contents  of  a passage  is 
made  more  certain. 

Although  it  is  not  necessary  to  write  all  of  the  exercises, 
nevertheless  the  design  of  the  book  is  to  have  most  of  them 
copied  on  music  paper,  as  the  art  of  writing  the  different  signs 
is  a valuable  practice  in  eye  training.  The  subjects  treated  are 
Notation,  Time,  Scales,  Chords  and  Intervals,  the  chords  includ- 
ing triads,  dominant  and  diminished  sevenths.  The  book  is  not 
intended  for  a work  on  theory,  and  gives  only  so  much  of  the 
latter  as  may  be  necessary  in  understanding  the  major  and 
minor  keys,  and  in  playing  scales  and  chords  intelligently. 

It  fills  a want  entirely  peculiar  and  needed , and  is  adapted 
not  only  for  use  in  the  study  of  any  musical  instrument,  but 
for  the  voice  also. 

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Preface 


Where  the  practical  requirements  are  so  unyielding  as  they  are 
in  the  case  of  a Writing  and  Ear-training  Primer,  it  is  difficult  to 
arrange  the  matter  under  any  scheme  that  approaches  the  scientific. 
In  dividing  the  book  into  sections  corresponding  to  the  two  great 
qualities  of  musical  sound,  viz.  length  and  pitch  (the  divisions  of 
quality  a id  intensity  not  coming  under  the  province  of  an  elementary 
treatise)  it  is  hoped  that  the  subject  is  developed  in  a logical  order 
unattainable  in  other  ways. 

The  ear-exercises  are  thoroughly  practical,  and  are  thrown 
forward  in  the  hope  that  teachers  will  invent  others  like  them,  and 
carry  the  pupil  on  to  the  power  of  real  discrimination  as  regards 
pitch  and  rhythm.  Such  exercises  are  especially  suitable  for  class 
work,  yet  are  very  effective  in  private  teaching. 


Twenty  Lessons  in  Writing  and 
Ear-Training. 

(Manchester’s  Music  Tablet  is  recommended  for  use  in  this  work.) 


WRITING  EXERCISES. 


LESSON  ONE. 

Length  of  Sounds.  Time. 


1.  Write  the  following  characters  : 

J ? J , $ r 

I l L 


t 


on  a staff  eleven  times,  viz. : on  each  line,  on  each  space,  and  on  the 
spaces  above  and  below  the  staff.  For  example  : 


S>-&- 


1 f -I. 

3 


t=t 


The  stems  of  notes  written  below  the  middle  of  a staff  must  turn 
up.  The  stems  of  notes  written  above  the  middle  of  a staff,  must  turn 
down.  The  stems  of  notes  written  on  the  middle  line  may  turn  either 
way.  A note  in  a space  must  have  the  head  touch  the  line  on  either 
side,  thus : id=,  not  A note  on  a line  must  have  the  head  of  the 
note  exactly  half  way  across. 

2.  Repeat  Exercise  1,  but  in  this  way  : 


: s: 


: etc. 


3. 


22— 

Write  each  of  the  following  characters  ^ ^ *1  5 & 

i 

ten  times  on  the  staff.  With  the  exception  of  the  first  two  characters 
which  are  placed  upon  the  third  space,  the  whole  rest  attached  to  the 
bottom  of  the  fourth  line,  and  the  half  rest  touching  the  top  of  the  third, 
they  may  be  written  anywhere  on  the  staff,  usually  about  the  middle. 

(2) 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


3 


Names  of  the  Notes  and  Rests. 


r 


Whole.  Half. 


J / 

Quarter.  Eighth. 


16th. 


0 

32d. 


j 

3 

V 

64th. 


The  breve  y and  12Sth  note,  S with  corresponding  rests,  are 
so  rare  as  to  need  no  reference  in  this  work. 


LESSON  TWO. 

4.  Go  over  the  notes  you  have  written  in  Exercises  1,  2 and  3,  and 
write  under  each  note  and  rest  its  name.  Do  not  use  fractions  as  \ for  a 
half  note,  ^ for  a sixteenth  note ; but  “ w ” for  whole  note,  “ h 11  for  half 
note,  “ q 11  for  quarter  note,  8th  for  eighth  note,  etc. 

5.  Write  on  a staff  ten  sixty-fourth  rests,  ten  half  notes,  ten 
eighth  notes,  ten  thirty-second  notes,  ten  eighth  rests,  ten  quarter  notes, 
ten  sixty-fourth  notes,  twenty  eighth  rests,  twenty  quarter  rests,  ten 
sixteenth  notes,  twenty  five  whole  rests,  and  twenty-five  half  rests. 

Make  half  the  notes  on  the  top  line  of  the  staff,  and  half  on  the 
bottom  space. 


LESSON  THREE. 

Relative  Length  of  Notes. 


Following  the  direction  of  the  arrow  point,  each  note  or  rest  is 
twice  as  long  as  the  one  which  follows. 

6.  Write  the  following  succession  of  notes  four  times  on  a staff ; 
then  on  the  first  space  below  the  staff  write  directly  under  each  note  a 
note  which  shall  be  twice  as  long  as  the  one  above  it. 

Write  each  note  by  itself,  without  reference  to  the  notes  before  or 
after  it. 


r — i s . s --s-  i 

—ft — j-tn 

1^  <B  N N [Si 

• r y e 

i * <P  9 72  9 

tr  % 

7.  Write  the  following  succession  of  rests  four  times,  then  on  tne 
first  line  or  space  below  the  staff  write  a rest  that  shall  be  twice  as  long 
as  the  one  above  it. 


4 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


8.  Write  the  following  succession  of  notes  four  times,  and  unde^ 
each  note,  give  in  figures,  its  equivalent  or  value,  in  sixteenth  notes. 


p=f= — 

' i fc ; -i 

L L 

[_  s o 

m I n i 

L L 

- ri 

f & • n ^ 1 

1 

1 i/ 

hr  & * ~ 

4,  etc. 

w -0 — ■ 

9.  Write  the  following  succession  of  notes  four  times,  and  give  in 
figures  the  value  of  each  note  in  eighth  notes. 


, n i 

— f ! -i 

_1 M 

m ^ 

, 

'l  & " \ 

V “ & 

2,  etc. 

10.  Write  the  following  succession  of  notes  four  times,  and  give 


in  figures  the  value  of  each  note  in  quarter  notes. 


LESSON  FOUR. 

Dotted  Notes  and  Rests. 


A dot  following  a note  or  rest  makes  the  note  or  rest  one-half  longer. 
11.  Write  the  following  passage,  and  under  each  note  in  figures 
write  its  value  in  quarter  notes. 


1 , # — f ’ "1 1 

| ~ ”| 

n n J 2=7  f • j 

i 

# i 9 a 

• ^ i | 

<5! 1 — 

.t  j 

12.  Write  the  same  passage  again,  and  under  each  note  write,  in 
figures,  its  value  in  eighth  notes. 

13.  Write  the  following,  and  under  each  note  write,  in  figures,  its 
value  in  sixteenth  notes. 


Two  dots  add  three  quarters  of  its  value  to  a note  or  rest. 


LESSON  FIVE. 

Pitch. 

14.  Draw  the  great  staff  of  eleven  lines  five  times,  thus  : 


etc. 


15.  Draw  the  great  staff  five  times  with  a note  on  the  middle 
line,  thus : 


etc. 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


5 


16.  Draw  the  great  staff  five  times,  separating  the  top  five  lines 
from  the  bottom  five  lines  by  omitting  the  middle  line,  thus  : 


etc. 


The  note  that  may  be  written  on  the  middle  line  is  “ middle  C,”  it 
is  written  on  the  line  below  the  top  five  lines,  or  on  the  line  above  the 
bottom  five  lines. 

Treble  and  Bass  Clefs. 

If  there  was  no  sign  we  would  not  know  whether  the  five  parallel 
lines  called  the  staff  that  we  use  in  music, were  the  top  five  or  the  bottom 

five  of  the  great  staff,  so  we  use  this  sign  3%,  for  the  top  five,  and  this 
sign  §|,  for  the  bottom  five. 

When  these  two  signs  are  used  to  designate  the  two  parts  of  the 
great  staff  they  (the  two  parts  of  the  staff)  are  joined  together  by  a sign  j 
called  a brace. 

17.  Copy  the  following,  and  then  write  below  each  note  its  letter- 
name  (as  “a,”  “ b,”  etc.)  and  its  distance  from  “ middle  C ; ” if  the  first 
« “d,”  for  instance,  above  “middle  C”  write  d1  ; if  the  second  “d” 

below  “middle  C,”  write  d2. 


18. 


The  same  : 


/ -J 

p =1  n : 

£ 

r 

r ^ '■  - 

, J , 

/ /in*  > i fs  ^ J i 

1 IS2:  U- 0 A f J (3?  n . 

\ - : 

19.  The  same  : 




-i 1 1 f2- 

t=d=t±= 


-(2^-PX 

-f— 


'~s& 


6 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


LESSON  SIX. 

20.  Copy  Exercises  17,  18  and  19,  but  transpose  the  notes  one  line 
or  space  higher,  as  the  case  may  be  ; write  below  the  notes  their  names 
with  regard  to  “middle  C.” 

21.  Copy  Exercises  17, 18  and  19,  transposing  the  notes  one  line  or 
space  lower,  then  proceed  as  before. 


LESSON  SEVEN. 

22.  Copy  the  following,  and  give  the  letter-names  as  in  Examples 
17,  18  and  19. 


i 


f=2- 


m 


-e- 


-P- 


— -! — — 1 — } — ,-^--4— 


& 


23.  The  same  : : 


4=-# — 

_l |h , — V&-\ — I 1 — — 1 1 1 


m 


t 


■^=t' 


3=EEF^ 

&- 


±=t 


24.  The  same 


If  thought  necessary,  the  abbreviation  u8va.v  may  be  explained  here. 


LESSON  EIGHT. 

Accidentals,  (Signs  of  Inflection.  ) 

A sharp  (ft)  on  a line  or  space  makes  the  line  or  space  stand  for  a 
pitch  one  semitone  higher,  a flat  (b)  for  a pitch  one  semitone  lower.  A 
natural  (if)  restores  a line  or  space  to  its  former  (uninflected)  condition. 
The  double  sharp  (JK),  as  its  name  indicates,  stands  for  a pitch  two  semi- 
tones higher.  A double  flat  (t>b)  for  a pitch  two  semitones  lower. 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


7 


In  making  the  signs  of  inflection  be  careful  to  make  the  main  part 
of  the  sign  exactly  in  the  space,  or  half  on  each  side  of  the  line  as  the 
case  demands,  thus  : -f — k — n — , and  -S  -fc  -5 — • . 

The  Tie  and  Slur. 

'25.  Copy  example  given  below,  and  notice  the  curved  lines. 
Observe  whether  the  notes  under  or  over  them  are  of  the  same  pitch. 


— -Q j j — 



o'  o 

~~  ‘/XT* 

V 

LtT 

— U t— 

1 L_ 

L U 

26.  The  same 


=T=t 


—~hrrl  * H ^ 


M 


t==T= 


*- 

=t=ti= 


27.  Write  under  each  curved  line  in  above  examples  its  name. 
If  the  notes  under  or  over  it  are  of  the  same  pitch,  it  is  a tie  ; if  not,  it  is  a 
slur.  If  there  are  more  than  two  notes  it  is  a slur. 

28.  Copy  the  following  and  write  underneath  the  name  of  the 
curved  line. 


r ~jr — i i 

| | 

1 1* 

1 “I 

1 | “1 

^ ' 

Hi) 

2^ — & — 

J . 

hrW  *-• 

m M * 

& 9 H 

i & 

LSUZ 

— 

- ^ 

-M- — u 

LESSON  NINE. 

Rhythm,  Time  Signatures,  Bar-Lines,  Division 
Into  Measures. 

Music  as  written  upon  the  staff  is  divided  into  measures,  the  value 
of  these  measures  is  determined  by  the  time  signatures.  These  are  figures 
in  the  form  of  fractions  placed  at  the  beginning  of  a piece  to  indicate  the 
time.  The  upper  figure  tells  the  number  of  pulses  in  the  measure,  and 
the  lower,  the  kind  of  note  which  represents  one  pulse.  Thus  \ as  the 
time  signature  indicates  two  pulses  in  the  measure,  and  one  to  each 
quarter  note  ; *,  three  pulses  in  the  measure,  one  to  each  quarter  ; four 
pulses  in  the  measure,  with  the  quarter  note  still  the  unit  of  value  ; 
g,  six  pulses  in  the  measure,  with  the  eighth  note  as  the  unit  of  value. 
There  are  other  less  used  time  signatures  which  will  be  easily  understood 
when  seen.  The  note  indicated  by  the  lower  figure  as  the  unit  of  the 
measure  regulates  the  relative  length  of  all  other  notes  in  the  piece.  Thus 
if  the  quarter  note  is  taken  as  the  unit  and  equals  one  pulse,  a half  note 
would  equal  two  pulses,  a whole  note  four,  and  an  eighth  would  be  equal 
to  but  one  half  a pulse.  The  unit  of  value  being  thus  known,  the  lengths 
of  the  notes  can  be  readily  calculated. 


8 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


29.  Copy  the  following  melodies  and  insert  the  bar-lines  as  shown 
by  the  accents,  then  add  time  signature. 


p^if^ifcr 4-1=te 

— 1 r ' 

r-  H— t— £+-*  * # 

1 - 

r f «ah-  99 

'Z51  Z^'  ' 

W 

rzs  a.  • n , ~ n 

1 ! ^ # J i 1 

\ n 

I & 9 9 A J 

i n 

I 9 9 

• u 

> 

> i J => 

o 

ImY  f*  ||  T 

rgr-  r A I _ 1 

^ 

P 3 - 

LESSON  TEN. 

30.  The  same.  Here  two  accents  only  are  shown. 


1 


99 


9^0. 


■g-P-0-W 1 1 1—4—*-  !*-($> — -75— & 


i— 1 


Divide  this  into  eight  measures. 


LESSON  ELEVEN. 

Scales. 

Notice  on  the  keyboard  the  difference  between  CJJ  and  Dtf,  and 
between  CJJ  and  D$.  The  latter  distance  is  a whole  tone,  and  the  former, 
a semitone.  On  the  keyboard  the  distance  from  any  key  to  the  next, 
whether  black  or  white,  is  a semitone.* 

31.  Copy  the  following,  and  under  each  two  notes  write  their 
distance  in  pitch  from  each  other,  thus  : 


b 

£2_ 

q — 3" 

i "i 

- 

¥z^:l 

T~f~b  j~~ 

1 CIT- ^ ^ Hz? 

-3  *»- 

i — t- 

Tone.  Semitone. 
32.  The  same  : 


* Note  to  Teachers.— The  expression  “ semitone  ” has  been  objected  to.  The  word 
••  half-step”  may  be  used  if  preferred,  though  it  is  very  easy  to  show  that  it  is  not  one  whit 
more  exact. 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


o 


Writing  the  Scales. 

(From  Grade  II  of  the  National  Graded  Course.) 

33.  Write  the  scale  of  C major,  and  mark  between  each  two  notes 
the  distance,  whether  tone  or  semitone  between  them. 

n 1_ 2 3 4 5 6 7 8 

Scale  of  C major : 


:=|: 


-0- 


-P~ 


We  notice  first  that  the  notes  ascend  on  the  staff  without  skipping 
a line  or  space.  The  notes  below  are  not  the  scale  of  C major. 


We  also  notice  a semitone  between  three  and  four,  seven  and  eight 
of  the  scale,  and  whole  tones  between  two  and  three,  four  and  five,  five 
and  six,  six  and  seven.  These  things  are  true  of  all  major  scales.  We 
will  now  write  a scale,  say  A major. 

What  is  the  first  step? 

To  write  the  notes  in  order  on  the  staff  without  skipping  lines 
or  spaces,  and  to  number  the  notes. 


1 23  45  678 


T & & & n 

1 1 

\~~A 

— ^ " 

tf 

X S’  & 

L V 

7 

What  is  the  first  note  in  the  scale  of  A ? 

A. 

What  is  the  second  as  we  have  it  ? 

B. 

How  far  is  B above  A ? 

A whole  tone. 

How  far  should  the  second  tone  be  above  the  first? 
A whole  tone. 

Then  is  B right  for  the  second  note  ? 

Yes. 

What  is  the  third  note  as  we  have  it? 

C. 

How  far  is  C above  B ? 

A semitone. 

How  far  should  the  third  tone  be  above  the  second  ? 
A whole  tone. 

Is  C then  right  for  the  third  note  ? 

No. 

What  is  the  matter  with  it  ? 

It  is  a semitone  too  low. 

How  can  we  raise  it  ? 

By  putting  a sharp  before  it  thus  : 


1G 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


I 


:Jf^= 


-19- 


8 

-6>- 


The  same  reasoning  may  be  employed  to  the  end  of  the  scale. 

1 2 3 4 5 6 7 

Scale  of  Ab. 


m 


-19— 


fj 


What  is  the  first  note  in  the  scale  of  Ab  ? 

Ab. 

What  is  the  second  note  as  we  have  it? 

B. 

How  far  is  B above  Ab  ? 

A tone  and  a half. 

How  far  should  the  second  tone  be  above  the  first? 
A whole  tone. 

Is  B right  then  for  the  second  note  ? 


No. 

What  is  the  matter  with  it  ? 

It  is  a semitone  too  high. 

How  can  we  lower  it  ? 

By  placing  a flat  before  it  thus  : 


1 2 3 4 5 6 7 L 8 


/ i - ^ ^ n 

ry  \/<9  r| 

1 2.  U 

The  same  process  of  reasoning  may  be  employed  to  the  end  of 
the  scale. 


LESSON  TWELVE. 

34.  Write  the  major  scales  beginning  on  C,  D,  E,  F,  G,  A,  B,  Db,  Eb, 
Gb,  Ab,  Bb,  CJJ,  F$.  If  the  method  of  construction  is  not  clear,  follow 
out  the  questions  and  answers  given  above  until  the  subject  is  understood. 


LESSON  THIRTEEN. 

The  Harmonic  Minor  Scale. 

1 23  456  78 


In  the  harmonic  minor  scale  we  have  a semitone  between  two  and! 
three,  five  and  six,  and  seven  and  eight;  between  six  and  seven  the  inter- 
val is  a tone  and  a half : the  remaining  intervals  are  whole  tones. 

35.  Write  the  harmonic  scale  of  O ten  times,  and  mark  the- 
distance  in  tone  and  semitone,  between  each  two  sounds. 

36.  Write  out  hamonic  minor  scales,  beginning  on  C,  D,  E*  F,  G„ 
A,  B,  Cft  Ffl,  G8,  Db,  Eb,  Ab,  Bb, 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


11 


LESSON  FOURTEEN. 


Key  Signatures. 


The  major  scale  and  the  minor  scale  beginning  on  the  sixth  note 
of  the  major  scale  have  the  same  signature.  The  harmonic  and  melodic 
scales  have  the  same  signature. 

37.  Copy  the  following  signatures  ten  times,  or  until  each  one 
can  be  written  from  memory. 


-(jgjlT 

: 



-fcjOrfc 

1 

: — iE=d: 

-P- 

A- 

: 2r£— 

LESSON  -FIFTEEN. 

38.  Write  out  the  following  signatures  on  the  treble  staff,  viz. : 
one  sharp,  two  flats,  four  sharps,  six  flats,  two  sharps,  three  flats,  five 
sharps,  seven  flats,  six  sharps,  one  flat,  three  sharps,  four  flats,  seven 
sharps,  five  flats. 

39.  Under  each  of  the  signatures  written  in  Exercise  38  put  its 
major  and  minor  name,  thus  : 


LESSON  SIXTEEN. 

40.  On  the  bass  staff  write  the  signatures  of  the  following  keys  : 
G major,  b minor,  C#  major,  c minor,  E?  major,  e minor,  f minor,  E 
major,  Ab  minor,  Db  major,  B major,  f#  minor,  g Minor,  A major,  FJJ 
major,  d minor,  D major,  Bt>  minor,  Bb  major,  Eb  minor,  F major,  Ab 
major,  Gt>  major,  f#  minor. 

41.  The  same  on  the  treble  staff. 


LESSON  SEVENTEEN. 


The  Melodic  Minor  Scale. 

1 23456  787 


£ 


4 3 2 1 


C melodic  minor 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


12 


In  the  melodic  minor  scale,  semitones  occur  between  two  and  three, 
and  seven  and  eight,  when  ascending  : in  descending,  the  semitones 
will  be  found  between  five  and  six,  and  two  and  three.  Between  the 
other  degrees  are  whole  tones. 

42.  Write  the  melodic  scale  of  C ascending  and  descending  ten 
times,  and  mark  between  each  two  notes  the  distance  (whether  tone  or 
semitone)  apart.  The  melodic  minor  scales  may  now  be  constructed, 
but  it  is  recommended  that  they  be  deferred  for  some  months  if  the 
pupil  is  not  already  somewhat  acquainted  with  them. 


LESSON  EIGHTEEN. 


More  Difficult  Exercises. 


Three  notes,  marked  usually  , are  compressed  into  the  time 

of  two  of  the  same  kind  ; such  a group  is  called  a triplet.  Other  irregu- 
larities of  the  same  kind  occur,  such  as  four  notes  for  three  (a  quadruplet); 
five  for  four  (a  quintuplet);  six  for  four  (a  se^tolet),  and  sometimes  less 
than  the  full  number  of  notes,  as  two  for  three. 

43.  Complete  the  measures  that  are  not  full  by  adding  one  note  ; 
copy  and  add  the  time  signatures. 


44.  In  the  case  of  incomplete  measures,  add  one  rest  that  shall  fill 
them  ; copy  and  add  the  time  signatures. 


LESSON  NINETEEN. 

45.  Write  four  measures  (using  only  the  first  C above  “ middle  C n 
for  the  note)  in  ® and  \ time.  Be  careful  that  the  accented  note 

is  of  the  same  length  or  longer  than  the  notes  following,  rather  than 
shorter,  thus : 

Not, 


o 

r 

• 

fl  0 

| i#  • * 0 

0 .£2 

r..« 

9 ■ 0 

a \ r 

r 

i 

=3  t t=l 

Eit  tr"t= 

— 1 — l — 1 

L V 

I — : 

There  is  no  intention  of  barring  out  syncopated  rhythms,  but  rather 
to  show  the  pupil  normal  types. 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


13 


LESSON  TWENTY. 

46.  Copy  this,  mark  the  places  where  the  arrangement  of  notes  is 
not  good,  and  correct  it. 


n 

0 0 0 • 0 

-0. 0 

- 0 (2. 

0 0 0 *_u 

O , 1 

i , i i 

i , I D i u H 

-Z5  — 1 — =4= 

-LJ — 1 — 

4 — U— 1 — 

-4 i- 

— U — 'J- — 6 

47.  Add  the  time  signatures  to  the  following  measures  : 


48.  Correct  any  errors  there  may  be  in  the  following  time 
signatures. 


x* 

' q r 

n 

■ o 

=n- m 

SJ  . i i 

rm 

\\- ? *-*-*  * * 

u 1 

*• 

«- 

* 

0- 

-n_t=4=4= 

..T  i=_J=  l 

J.5_l 

1 ! 1 1 

-Q-U  y y 

Jj±_| — ^11 

EAR  EXERCISES. 

These  exercises  may  be  started  upon  as  soon  as  the  pupil  has 
written  the  first  few  lessons  in  the  primer. 

The  manner  of  teaching  is  as  follows : The  teacher  sounds  the  first 
large  note,  and  tells  the  pupil  it  is  the  first  tone  of  the  scale.  The  teacher 
then  plays  the  second  large  note,  and  asks  the  pupil  what  its  number  in 
the  scale  is ; if,  after  repeated  trials,  the  pupil  cannot  tell,  the  teacher 
will  play  the  first  large  note  again,  following  it  with  the  small  notes 
leading  up  to  the  second  large  note.  After  awhile  the  pupil  will  get  the 
power  of  bridging  over  the  space  without  the  help  of  the  actual  sounds. 
Of  course  the  pupil  sits  where  he  cannot  see  the  keyboard. 


14 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


After  the  pupil  can  recognize  the  various  sounds  within  the 
diatonic  scale  by  ear,  the  following  simple  tunes  may  be  played  over  to 
him.  The  teacher  strikes  the  key-note,  then  proceeds  to  play  the  tune 
several  times  over  with  a marked  accent  on  the  first  beat  of  the  measure, 
until  the  pupil  has  the  notes  (written  all  as  whole  notes)  down.  The 
pupil  will  then,  while  the  teacher  plays  the  tune  several  times  more, 
notice  the  accents  and  place  the  bar-lines.  The  time  signature  next 
follows.  Thus  exercise  51  would  probably  be  worked  out  by  the  pupil  as 
follows : 


Teacher  strikes 
die  C.” 


and  tells  pupil  it  is  the  key-note,  “mid- 


Teacher  now  plays  the  tune  over  eight  or  ten  times,  or  more. 


First  stage : 


' 5 ==S3^^, 


Second  stage:  : 


I 


e= 


Third  stage: 


t 


He  finds  the  second  to  seventh  notes  are  all  the  same  length  ; lie 
chooses  to  call  them  quarter  notes,  they  might  have  been  any  other 


Fourth  stage: : 


£ 


fj 


:=|: 


I 8 


If  he  had  written  eighths  instead  of  quarters,  the  result  would 
have  been  as  below  : 


i — ^ 

L>  A £ A.  \ 

□ j 

A l_  w M J _J 

9 * * 

' • # J 

TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


15 


60. 


16 


TWENTY  LESSONS  IN  WRITING  AND  EAR-TRAINING. 


61. 


1 # _ ^ ^ 

2? 

r | i - - - | 

Z—m 

m 

j i 

r ! - « p 

i r 

L_L_ 

w 9 — 

a 

L 1 L 1 

L 0-J 

s 

62. 


# * #-* 

-1 — F-  # =— 1 — 1 — 

p^grf  r 

:^&=±===^=tz=^=: 

' \ — r — f u-i— 

__l — y— J — 

63. 


t=c 


p~0 


#* 


t=t 


64. 


■ 

p — x 

| " 

~ 1 , 

1 

" ~]  ' 

Z | J 

— • — 

— 1 J- 

— H 

— 1 H— 

-J 1- 

H — 

— __j 

:k 

e ^ • 

# #- 

— 1 — — #— 

# # 

—& 

— <S> 

65. 


FT=^ 

:#  # # 

— 1 1-  -# — 1 1\ 

:zF7h  h,r~H 

* • 

3 — 

-U+-U 

-^—4-  .|— 0-^-0- 

66. 


" j “ 

vV  3 m m tf  ^ J 

f/"  yi  W 

_ * — 

m \ ._q. 

Z±fc  w 

L 

1 ! 

j *-»y. 

67. 


— r 

=p=£t= 

=Ptfc 

-s-rf-s--  -rjd" 

—J K 

, "1  | f“  | 

I 

:#r^: 

-F — l — F F # aj 

:t=^t=:=t=p- 

-0~ 

1 

L^l— iJ 

N.B.— Sharps  and  flats  better  be  written  as  they  occur,  and  not  as 
a signature. 


NOTE  SPELLING  LESSONS 

FOR 

BEGINNERS  IN  MUSIC 

BY 

M.  S.  MORRIS 


A Systematic  Method  for  Teaching  Music  Pupils  to  Read  Rapidly 


A Notation  Book  for  beginners,  and  on  account  of  the 
variety  of  the  exercises  is  not  only  instructive  but  interesting, 
and  has  an  element  of  diversion  and  amusement  that  will  ap- 
peal to  every  young  student. 

There  are  48  words  which  are  to  be  spelled  by  writing  on 
the  staff,  the  notes  corresponding  to  the  letters  in  the  words,  such 
as  “age,”  “feed,”  etc.,  and  these  are  to  be  written  in  the  differ- 
ent positions  of  the  bass  and  treble  staves,  the  corresponding  keys 
on  the  piano  to  be  struck  also.  After  being  written,  each  exer- 
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rected by  the  pupil,  thus  insuring  concentration  and  attention. 
Dictation  also  is  to  be  given,  making  the  book  valuable  for  class 
or  individual  work. 

The  last  exercise  in  the  book  consists  of  a little  story  entitled , 
“ Concerning  John,”  in  which  the  48  words  that  have  been  writ- 
ten in  all  the  different  positions  occur  in  notes,  and  the  effort  to 
read  these  correctly,  in  order  to  make  sense  of  the  story,  proves 
an  excellent  drill  in  skipping  in  the  different  positions,  and  from 
one  clef  to  the  other. 

Although  intended  for  beginners,  advanced  pupils  who  are 
slow  readers  will  find  benefit  in  the  systematic  arrangement  of 
the  exercises. 

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PRIMARY  GRADE  of  the  National*  Graded  Course  is  intended  for 
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The  Gymnastic  Exercises  included  in  Grade  1 are  recognized  as 
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With  Very  Few  Exceptions,  and  those  dictated  by  imperative 
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